ČEREŠNIČKY

Czechoslovakian

 
PRONUNCIATION: CHER-esh-neech-kee
 
TRANSLATION:  
 
SOURCE: Frantiček Bonuš, professor at the Academy of Music and Dance in Praha (Prague) in Central Bohemia, introduced this dance to folk dancers in the United States.
 
BACKGROUND: This is a women's dance from Southeast Moravia (although men may participate).
 
MUSIC: DDGU (7"EP) 114005, side B, band 1 (4 meas musical introduction with Coda);
SUPRAPHON (LP) SUA 52754, side 2, band 1 (no musical introduction or Coda);
Worldtone (45rpm) WT 1003 (no musical introduction or Coda).
 
FORMATION:W in an open or closed cir with hands hoined and held down in "V" pos. If open cir is used, leader is at L.
 
METER/RHYTHM: 2/4
 
STEPS/STYLE: KEY STEP: Step R across in front of L (ct 1); step L diag bwd to L (ct &); quickly bring R to L with a stamp (ct 2); pause (ct &). The first step may be accented.
 

MEASMOVEMENT DESCRIPTION

 
 INTRODUCTION
 
 DDGU has 4 meas. There is no introduction on the SUPRAPHON or Worldtone recordings.
 
I. SIDE TO SIDE
 
1Step on straight L to L, turning head to L and moving hands fwd (ct 1); close R to L, taking wt and bending knee while turning head to face fwd and moving hands back (ct 2);
2Step on straight L to L, turning head to L and moving hands fwd (ct 1); close R to L, taking wt and bending knee while turning head to face fwd and moving hands back (ct 2);
3Step on straight L to L, leaving R in place (ct 1); touch R out to side with entire ft (ct 2);
4Close R to L without wt, bending knee (ct 1); pause (ct 2).
 
5-8Repeat action of meas 1-4 to R with opp ftwk and body action.
9-16Repeat action of meas 1-8, taking wt on last closing step.
 
 CHORUS
 
1Step R across in front of L (ct 1); step L swd (ct 2);
2Step R across in front of L (ct 1); step L swd (ct 2);
3-4Dance 2 Key Steps;
5Step R across in front of L (ct 1); step L swd (ct 2);
6Step R across in front of L (ct 1); step L swd (ct 2);
7-8Dance 2 Key Steps;
9-16Repeat action of meas 1-8.
 
 NOTE: Meas 1-2 are danced smoothly; meas 5-6 are danced with a low leaping action.
 
II. SIDE TO SIDE WITH ORNAMENT
 
1Step L to L (ct 1); close R to L (ct 2);
2Step L to L (ct 1); close R to L (ct 2);
3Hop R, swinging L heel across in front of R (ct 1); hop R, swinging L heel out to side (ct 2);
4Close L to R, taking wt (ct 1); pause (ct 2).
5-8Repeat action of meas 1-4 to R with opp ftwk.
9-16Repeat action of meas 1-8.
 
 CHORUS
 
1-16Repeat action of Chorus described above.
 
III. SIDE TO SIDE
 
1-16Repeat action of Fig I.
 
IV. SIDE TO SIDE WITH ORNAMENT
 
1-16Repeat action of Fig II.
 
V. CODA
 
 NOTE: On some recordings, the Coda will not be danced because of the length of the recording.
 
 Variation 1
 
1Moving to L, step R across in front of L (ct 1); hop R, bringing L around in circular motion with heel out (ct 2);
2Step L (ct 1); hop L, bringing R around in circular motion with heel out (ct 2);
3-4Dance 8 small quick steps to L, beg with R;
15-16Repeat action of meas 1-4 three more times.
 
 Variation 2
 
1Moving to the L, step R across in front of L (ct 1); hop R (ct &); step L swd (ct 2);
 
 NOTE: At the leader's discretion, the first step may be accented with a twisting motion of the body.
 
2Step R across in front of L (ct 1); hop R (ct &); step L swd (ct 2);
3-4Dance 8 small quick steps to L, beg with R;
5-16Repeat action of meas 1-4 three more times.
 
 Variation 3
 
1-16Breaking into cpls with Shldr-Waist pos, or into trios with low "V" pos, or Back-Basket hold, dance the same ftwk as in Variation 2 to end of music.
 
1NOTE: This var danced instead of Var II unless length of Coda is doubled into 64 meas.
 
 Repeat entire dance from beg.
 

 
ČEREŠNIČKY
 
Čerešničky, čerešničky, čerešne,
vy ste sa ňe rozsypaly na cestě.
/: Kdo vás najde, ten vás posbírá,
já som mala večéra večér frajíra. :/

Bol to šohaj malovaný jak růža,
teho sem si vyvolila za muža.
/: Ani bych mu robit nedala,
enem ako růžu bych ho chovala. :/

Jako růžu, jako růžu červenú,
já bych bola jeho ženú milenú.
/: Já bych bola jeho gazděna
a on moja růža, růža červená. :/

 

Copyright © 2002 by Dick Oakes